The Turn of the Screw
by Benjamin Britten
August 22, 2018 at 7:30 PM & August 23, 2018 at 7:30 PM
Stan Mansion
2408 N Kedzie Blvd, Chicago, IL 60647
Creative Team
Stage Director: Kaley Smith
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Conductor: Codrut Birsan
Assistant Conductor: Marcoantonio d’Arbelles |
Assistant Stage Director: Margaret Jumonville
Musical Preparation: Michael Pecak |
August 22, 2018
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August 23, 2018
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Synopsis
It is a pleasant afternoon in June when the governess first arrives at the country estate at Bly, where she is to take charge of Miles, age ten, and Flora, eight. She faces her new position with some trepidation because of the unusual circumstances of her situation. The two children are to be under her complete care, and their uncle, who engaged her, has been explicit in stating that he does not wish to be bothered with his orphaned niece and nephew. Her uneasiness disappears, however, when she sees her charges, for Flora and Miles seem incapable of giving the slightest trouble.
The weeks of June pass uneventfully. Then, one evening, while she is walking in the garden at twilight, the governess is startled to see a strange young man at a distance. The man looks at her in a manner that suggests a challenge and then disappears. The incident angers and distresses the young woman; she decides that the man is a trespasser.
On the following Sunday evening, the governess is again startled to see the same stranger looking in at her through a window. He stares piercingly at her for a few seconds and then disappears. This time the governess realizes that the man had been looking for someone in particular, and she thinks that perhaps he bodes evil for the children in her care. A few minutes later, the governess tells the housekeeper, Mrs. Grose, of the incident and describes the appearance of the man. Mrs. Grose tells her that it is a perfect description of Peter Quint, the valet to the governess’s employer—but Mr. Quint is dead.
One afternoon shortly afterward, a second apparition appears. This time Miss Jessel, the former governess, appears in the garden to both the governess and the little girl, Flora. The strange part of the situation is that the little girl refuses to admit to the governess that she sees the figure and knows who it is, though it is obvious that she understands the appearance fully.
The governess learns from the housekeeper that Quint and Miss Jessel had been lovers while alive, though the young woman came from a very fine family and the man had been guilty of drunkenness and worse vices. For what evil purpose these two spirits wish to influence the seemingly innocent children, neither the housekeeper nor the governess can guess.
The secrecy of the children about seeing the ghosts is maddening to the two women. They both feel that the boy is continuing to see the two ghosts in private and conceals that fact, just as he had known of the illicit affair between the valet and the former governess in life and had helped them to conceal it. Yet, when in the presence of the children, the governess sometimes feels that it would be impossible for the two children to be influenced into evil.
The third time the ghost of Quint appears to the governess is inside the house. Unable to sleep, she is reading late at night when she hears someone on the stairs. She goes to investigate and sees the ghost, which disappears when faced by her unflinching gaze. Each night after that, she inspects the stairs, but she never again sees the ghost of the man. Once, she glimpses the apparition of Miss Jessel sitting dejectedly on the lowest stair.
Worse than the appearance of the ghosts is the discovery that the children have been leaving their beds at night to wander on the lawn in communication with the spirits, who are leading them to unknown evil. It becomes apparent to the governess that the children are not good within themselves. In their imaginations, they are living in a world populated by the evil dead restored.
In such an atmosphere, the summer wears away into autumn. In all this time, the children give no sign of awareness of the apparitions. Knowing that her influence with the children is as tenuous as a thread that is likely break at the least stress, the governess does not allude to the ghosts. She herself sees no more manifestations, but she often guesses from the children’s attitudes that the apparitions are close at hand. What is worse for the distressed woman is the thought that what Miles and Flora are seeing are things still more terrible than she imagines, visions that sprang from their association with the evil figures in the past.
One day, Miles comes to the governess and announces his desire to go away to school. She realizes that it is only proper that he be sent to school, but she fears the results of ghostly influences on the boy once he is beyond her care. Later, opening the door of the schoolroom, she again sees the ghost of her predecessor, Miss Jessel. As the apparition fades, the governess realizes that her duty is to stay with the children and combat the spirits and their deadly influence. She decides to write immediately to the children’s uncle, breaking his injunction against being bothered in their behalf. That night before she writes, she goes into Miles’s room and asks the boy to let her help him in his secret troubles. Suddenly a rush of cold air fills the room, as if the window had been blown open. When the governess relights the candle blown out by the draft, the window is still closed, and the drawn curtain has not been disturbed.
The following day, Flora is briefly missing. Mrs. Grose and the governess find her beside the garden pond, and the governess, knowing that the girl had gone there to see the ghost, asks her where Miss Jessel is. The child replies that she only wants to be left alone. The governess can see the apparition of Miss Jessel standing on the opposite side of the pond. The governess, afraid that the evil influence is already dominating the little girl, asks the housekeeper to take Flora to London to request the uncle’s aid. In place of the lovable, angelic Flora there has suddenly appeared a little child with a filthy mind and filthy speech, which she uses in denouncing the governess to the housekeeper. That same afternoon, Mrs. Grose leaves with the child as the governess has requested.
That evening, immediately after dinner, the governess asks Miles to tell her what is on his mind before he leaves the dining room. When he refuses, she asks him if he stole the letter she had written to his uncle. As she asks the question, she realizes that standing outside the window, staring into the room, is the ghost of Peter Quint. She pulls the boy close to her, shielding him from any view of the ghost at the window, while he tells her that he did take the letter. He also informs her that he has already been expelled from one school because of his lewd speech and actions. Noting how close the governess is holding him, he suddenly asks if Miss Jessel is near. The governess, angry and distraught, shrieks at him that the ghost of Peter Quint is just outside the window. When Miles turns around, the apparition is gone. With a scream, he falls into the governess’s arms. At first, she does not realize that she has lost him forever—that Miles is dead.
The weeks of June pass uneventfully. Then, one evening, while she is walking in the garden at twilight, the governess is startled to see a strange young man at a distance. The man looks at her in a manner that suggests a challenge and then disappears. The incident angers and distresses the young woman; she decides that the man is a trespasser.
On the following Sunday evening, the governess is again startled to see the same stranger looking in at her through a window. He stares piercingly at her for a few seconds and then disappears. This time the governess realizes that the man had been looking for someone in particular, and she thinks that perhaps he bodes evil for the children in her care. A few minutes later, the governess tells the housekeeper, Mrs. Grose, of the incident and describes the appearance of the man. Mrs. Grose tells her that it is a perfect description of Peter Quint, the valet to the governess’s employer—but Mr. Quint is dead.
One afternoon shortly afterward, a second apparition appears. This time Miss Jessel, the former governess, appears in the garden to both the governess and the little girl, Flora. The strange part of the situation is that the little girl refuses to admit to the governess that she sees the figure and knows who it is, though it is obvious that she understands the appearance fully.
The governess learns from the housekeeper that Quint and Miss Jessel had been lovers while alive, though the young woman came from a very fine family and the man had been guilty of drunkenness and worse vices. For what evil purpose these two spirits wish to influence the seemingly innocent children, neither the housekeeper nor the governess can guess.
The secrecy of the children about seeing the ghosts is maddening to the two women. They both feel that the boy is continuing to see the two ghosts in private and conceals that fact, just as he had known of the illicit affair between the valet and the former governess in life and had helped them to conceal it. Yet, when in the presence of the children, the governess sometimes feels that it would be impossible for the two children to be influenced into evil.
The third time the ghost of Quint appears to the governess is inside the house. Unable to sleep, she is reading late at night when she hears someone on the stairs. She goes to investigate and sees the ghost, which disappears when faced by her unflinching gaze. Each night after that, she inspects the stairs, but she never again sees the ghost of the man. Once, she glimpses the apparition of Miss Jessel sitting dejectedly on the lowest stair.
Worse than the appearance of the ghosts is the discovery that the children have been leaving their beds at night to wander on the lawn in communication with the spirits, who are leading them to unknown evil. It becomes apparent to the governess that the children are not good within themselves. In their imaginations, they are living in a world populated by the evil dead restored.
In such an atmosphere, the summer wears away into autumn. In all this time, the children give no sign of awareness of the apparitions. Knowing that her influence with the children is as tenuous as a thread that is likely break at the least stress, the governess does not allude to the ghosts. She herself sees no more manifestations, but she often guesses from the children’s attitudes that the apparitions are close at hand. What is worse for the distressed woman is the thought that what Miles and Flora are seeing are things still more terrible than she imagines, visions that sprang from their association with the evil figures in the past.
One day, Miles comes to the governess and announces his desire to go away to school. She realizes that it is only proper that he be sent to school, but she fears the results of ghostly influences on the boy once he is beyond her care. Later, opening the door of the schoolroom, she again sees the ghost of her predecessor, Miss Jessel. As the apparition fades, the governess realizes that her duty is to stay with the children and combat the spirits and their deadly influence. She decides to write immediately to the children’s uncle, breaking his injunction against being bothered in their behalf. That night before she writes, she goes into Miles’s room and asks the boy to let her help him in his secret troubles. Suddenly a rush of cold air fills the room, as if the window had been blown open. When the governess relights the candle blown out by the draft, the window is still closed, and the drawn curtain has not been disturbed.
The following day, Flora is briefly missing. Mrs. Grose and the governess find her beside the garden pond, and the governess, knowing that the girl had gone there to see the ghost, asks her where Miss Jessel is. The child replies that she only wants to be left alone. The governess can see the apparition of Miss Jessel standing on the opposite side of the pond. The governess, afraid that the evil influence is already dominating the little girl, asks the housekeeper to take Flora to London to request the uncle’s aid. In place of the lovable, angelic Flora there has suddenly appeared a little child with a filthy mind and filthy speech, which she uses in denouncing the governess to the housekeeper. That same afternoon, Mrs. Grose leaves with the child as the governess has requested.
That evening, immediately after dinner, the governess asks Miles to tell her what is on his mind before he leaves the dining room. When he refuses, she asks him if he stole the letter she had written to his uncle. As she asks the question, she realizes that standing outside the window, staring into the room, is the ghost of Peter Quint. She pulls the boy close to her, shielding him from any view of the ghost at the window, while he tells her that he did take the letter. He also informs her that he has already been expelled from one school because of his lewd speech and actions. Noting how close the governess is holding him, he suddenly asks if Miss Jessel is near. The governess, angry and distraught, shrieks at him that the ghost of Peter Quint is just outside the window. When Miles turns around, the apparition is gone. With a scream, he falls into the governess’s arms. At first, she does not realize that she has lost him forever—that Miles is dead.
Cast
Governess - Madalyn Luna
Soprano Madalyn Mae Luna of Chicago, IL is a first-year Master’s student at Manhattan School of Music under the tutelage of Cynthia Hoffmann. She received her Bachelor of Music degree at Lawrence University Conservatory of Music where she studied with Dr. Karen Leigh-Post. Previous credits include Philip Glass’ Hydrogen Jukebox (Soprano 2) and The Beggar’s Opera (Mrs. Trapes) with Lawrence University Opera, as well as Hänsel und Gretel (Taumännchen) and Don Giovanni (Zerlina) with Manhattan Opera Studio. She has sung in master classes with The Metropolitan Opera’s Roger Malouf and performed under the baton of Vlad Iftinca, Hal France, Benoit Renard, and Mark Dupere. This summer, Madalyn will be featured as Beth in Mark Adamo’s Little Women at Hawaii Performing Arts Festival, and The Governess in Benjamin Britten’s The Turn of the Screw with Chicago Summer Opera.
Governess - Siobhan Raupach
Canadian soprano Siobhan Raupach is a versatile performer and is comfortable in opera, art songs and oratorio.She made her professional symphonic debut the dual role of Gabriel and Eve in Die Schöpfung with the Okanagan Symphony in 2015. Recently performed operatic roles include Abigail Williams in The Crucible, Despina in Così fan Tutte and Pamina in Die Zauberflöte. Her operatic scene work includes Countess in Le Nozze di Figaro, Leila in The Pearl Fishers and Gretel in Hansel and Gretel. Siobhan received her B.Mus from McGill University in 2013, her M.Mus from San Francisco Conservatory of Music in 2015, and her Post-Graduate Degree from San Francisco Conservatory of Music in 2016. She currently resides in the Philadelphia area with her classical guitarist husband, Kevin Robinson.
Cover Governess - Kristina Shafranski
Kristina Shafranski, Soprano, is a native of Long Island, New York, pursuing her Masters in Voice Performance from Roosevelt University’s Chicago College of Performing Arts. Kristina has a Bachelors in Vocal Performance from Hofstra University. She is currently a student of Elizabeth Byrne. Kristina was previously seen in lead roles at Hofstra University’s Opera Theater productions of The Beggar’s Opera as Lucy (2017) and La Vie Parisienne as Gabrielle (2016). Her first time with the Chicago Summer Opera, Kristina will be performing the roles of Nora in Riders to the Sea and Governess (cover) in The Turn of the Screw.
Miles - Elijah McCormack
Elijah McCormack (Miles) is a male soprano currently earning a Master's degree in historical performance voice at the Indiana University Jacobs School of Music, and studies with Steven Rickards. He earned his Bachelor's degree at Skidmore College, and there studied voice with Gene Marie Callahan and Sylvia Stoner-Hawkins. This year, he has appeared as a soprano soloist in the Historical Performance Institute's St. John Passion, and as Pirro and Amore in La Didone with Haymarket Opera. Previous opera credits include Cherubino in Le Nozze di Figaro with Prague Summer Nights and Arsamene in Xerxes at Skidmore College. He has also appeared in Hansel and Gretel (Sandman) and L'incoronazione di Poppea (Valletto/Lucano) in concert with the New York Lyric Opera Theater, and in the Albany Symphony concert premiere of Evan Mack's Roscoe (Gilby). Last Fall, he was featured in the first Trans* Voices Cabaret in New York City.
Miles - Mara Lane
Mara Lane recently graduated with her Bachelor’s degree in Art History and Music from Knox College where she studied voice with Dr. Laura Lane. During her time at Knox, Mara sang the role of Belinda in Dido and Aeneas and wrote an Honors thesis on the opera Einstein on the Beach. Mara has studied voice in Vienna, Austria and now studies with Audrey Stottler in Minneapolis.
Cover Miles - Lauren Lange
Soprano Lauren Lange is passionate about inspiring youth through performance. She is currently pursuing a Bachelor's degree in Choral and General Music Education from University of Wisconsin- Stevens Point. There, she is an active member in Concert Choir and will be performing the role of a Lay Sister in Puccini’s Suor Angelica, Spring 2018. She is excited to be a part of Chicago Summer Opera’s production Turn of the Screw as the cover for Miles.
Flora - Jaclyn Randazzo
Jaclyn Randazzo (soprano) will be making her role debut as Flora in Benjamin Britten’s Turn of the Screw this season! Ms. Randazzo, a native of New York, has performed with the Hawaii Performing Arts Festival as Bergère/Owl (L’enfant et les sortilèges), Bellearye Festival Opera’s production of Carmen, multiple productions with the Crane Opera Ensemble, the University of Kentucky’s Opera Theatre, and with the Opernfestival Gut Immling in Bavaria, Germany. Recent appearances include Rosine in Signor Deluso, Crystal in Little Shop of Horrors, and Woman #1 in And the World Goes ‘Round as well as a featured soloist with the Singers of Long Island. Ms. Randazzo has had the opportunity to sing in some of New York’s most famous venues including Lincoln Center’s David Geffen Hall, The Metropolitan Room, and The Bitter End. This past May, she earned a Masters of Music in Voice Performance at the University of Kentucky, studying with Dr. Angelique Clay. She received her Bachelor’s degree in Vocal Performance and Music Education from the Crane School of Music at SUNY Potsdam.
Cover Flora - Asuka Kakiosa
Soprano, Asuka Kakiosa is a graduate of Tokyo University of Arts (B.M in Vocal Performance’12). From 2014-2016, she was at the young artist program Tokyo Nikikai Opera Institute. Her recent roles include Fiordiligi in Così fan tutte, Barbarina in Le nozze di Figaro, Giunia in Lucio Silla, Danica in Svadva (The New York Première) and a soloist in the Fauré’s Requiem, Händel’s Messiah, Purcell’s The Indian Queen. Kakiosa’s awards include the 3rd Place in the Soleile Music Competition in Japan and 2nd Place in Competition of Czech music in Japan. Currently she is a master student at The Conservatory of Music of Brooklyn College in the studio of Prof. Mignon Dunn.
Flora - Claire Agresta
Ms. Agresta received a Master’s in Voice Performance from Eastern Michigan University. Major roles she has performed include Susanna in Le Nozze di Figaro, Ynoild in Pelleas et Melissande, Amy in Little Women and Fredrika in A Little Night Music. She has premiered solo and choir pieces by composers Andrew Martin Smith, David Lang and Jeffery Brooks; and has performed with the Interlochen New Music Festival, the Toledo Symphony Orchestra and the Detroit Concert Choir. She will be performing Flora in Turn of the Screw with the Summer Chicago Opera Company in Summer 2018.Ms. Agresta is currently on the board of the Comic Opera Guild of Ann Arbor. As a member of the guild, she has performed in their productions for the past four years. She is also a member of the Detroit Concert Choir Conducting Symposium Committee, Music Director and Assistant Director of the Opera Workshop at EMU, and vocal teacher at the Michigan Music Academy in Plymouth. She was Vice President and a vocalist with the Eastern Michigan University Choir, and works as a soloist and past section leader at Zion Lutheran Church. She has fifteen years experience in dance including ballet, tap, jazz, broadway and partnering, and was an assistant ballet teacher for Lee Ann King. Ms. Agresta maintains a private studio in Ann Arbor. Ms. Agresta has had the honor to study with Maitland Peters, Alice Pierce, Chelsea Cloeter, Jane Rodgers, and Carolyn Burnstein. Most recently, she has studied with Emily Benner and Denise Ritter.
Mrs. Grose - Molly Burke
Molly Burke (mezzo-soprano) is known for her versatility in a range of dramatic and comedic roles. ‘Playing the roles of Florence Pike from Britten’s Albert Herring and Elizabeth Proctor in Ward’s The Crucible where she was praised for her “secure mezzo and intense declamation captured Elizabeth’s strength and heartbreak.” This summer she will return to Martina Arroyo’s Prelude to Performance to sing Meg Page in Falstaff followed by Mrs. Grose in Britten’s Turn of the Screw with Chicago Summer Opera. Recently she was heard as La Badessa and La Suora Zelatrice in Suor Angelica at Prelude to Performance. She joined the Wagner Institute for their inaugural season in singing Roßweiße in Wagner’s Die Walküre. While an apprentice at Sarasota Opera she sang una vecchia in Montemezzi’s L’amore dei tre re as, Cio-Cio-san's mother in Madam Butterfly, and covered Mere Jeanne in Poulenc’s Dialouges des Carmelites.
Mrs. Grose - Antoinette Konow
Antoinette Konow, Lyric Soprano, recently debuted a new, farcical operetta: High Fidelity, at ColorBox Theatre in Chicago playing the role of Georgina Livingston - acclaimed as a “melodious two-act confection.” Prior, Antoinette was a Young Artist with Asheville Lyric Opera, followed by performing the role of Monica in The Medium with ColorBox Theatre of Chicago. Other credits include Gertrude Stein in The Mother of Us All, Sour Angelica in Sour Angelica, Countess in Le nozze di Figaro, Cendrillon in Cendrillon, Donna Elvira in Don Giovanni, Princess Ida in Princess Ida and Rosalinde in Die Fledermaus. Antoinette earned a Bachelor’s of Music in voice performance from Simpson College and a Masters of Music in voice performance from the University of North Texas.
Cover Ms. Grose - Jenna Schroer
Jenna Schroer, Soprano was born and raised near Kansas City, Missouri. She received her Bachelor’s degree in Vocal Performance from the University of Missouri – Kansas City Conservatory of Music & Dance training with dramatic soprano Dr. Anne DeLaunay. She completed her Masters in Voice from University of Cincinnati’s College Conservatory of Music studying with bass-baritone Kenneth Shaw. The following year, Jenna was selected as an Artist Diploma candidate. She has had the opportunity to sing such roles as the title role in Puccini’s Suor Angelica, Lady Billows in Britten’s Albert Herring, and Madame Lidoine in Poulenc’s Dialogues of the Carmelites. Jenna has won several awards including the Ralph Corbett & Emilie Dieterle Scholarships as well as 1st place at the regional level of the NATs competition. This past Fall, Jenna had the opportunity to participate in the first annual Dramatic Voice Symposium at Loyola University in New Orleans singing for Metropolitan Opera legend, Greer Grimsley. She looks forward to covering the role of The Governess in Britten’s Turn of the Screw with Chicago Summer Opera.
Miss Jesel - Nataly Wickham
Praised as a “soaring soprano” , Nataly Wickham, a recent graduate of New England Conservatory’s prestigious Artist Diploma program, is quickly earning a reputation as an outstanding young soprano. Most recently, she performed with the Eureka ensemble as a soloist in Handel’s Messiah. In the summer of 2017, she made her company Debut with North End Music Performing Arts Center in Boston performing Leonore in Beethoven’s only opera, Fidelio. Ms. Wickham made her Chicago debut with Chicago Summer Opera performing Lady Billows in Britten’s Albert Herring in 2016. In February 2016, Ms. Wickham performed the role of Lisak (The Fox) in Janáček’s The Cunning Little Vixen with New England Conservatory. Other performance credits during her residency at New England Conservatory include: Madame Lidoine Dialogues of the Carmelites, Helwige Die Walküre, Magda Sorel The Consul, Fortuna L’incoronazione di Poppea, and Vitellia La Clemenza di Tito in addition to collaborating regularly with the Liederabend series and performing on many concerts in Jordan Hall with the NEC Philaharmonia. She has also worked with reputable companies such as Des Moines Metro Opera, Austin Lyric Opera, and Opera NEO, respectively.
Miss Jessel - Elizabeth Cohen
Elizabeth Cohen, an Albany New York native, began her musical career at 9 as part of Celine Dion's children's chorus for the Let's Talk About Love tour. Elizabeth began formal training at 15 when she auditioned and was selected for the Juilliard School's Pre-College program on a dare from her Mom. Elizabeth has performed several roles including (Donna Anna) Don Giovanni, (Antonia) Les Cantes d’Hoffmann, and (Magda) La Rondine. Concert experience includes: soprano soloist in the Schubert Mass in E-flat, Bard’s Winter Song Fest, Dawn Upshaw and Friends, and First Songs a concert world premiere. Enjoying a rich art song background, Elizabeth spent several summers in France studying with Dalton Baldwin and has performed the complete Clairières dans le ciel by Lili Boulanger with Javier Arrebola. Elizabeth holds degrees in Vocal Performance and Political Science from Oberlin College and Conservatory and a Master’s from Bard College’s Vocal Arts Program.
Cover Jessel - Hannah Kauffmann
Soprano, Hannah Kaufmann is from St. Louis, MO. Ms. Kauffmann is a graduate from Culver-Stockton College and the University of Iowa. Kauffmann has performed in various cities such as New York City, St. Louis, Los Angeles, and Graz, Austria. Recently, she performed with Union Avenue Opera in their production of Nabucco, and ventured into the musical world singing Madame de la Grande Bouche in Beauty and the Beast. She has been a chorus member of the Winter Opera of St. Louis for the past 2 seasons. Some of her favorite shows she has performed in are Hänsel und Gretel (Die Mütter), Gianni Schicchi (La Ciesca), Les Pêcheurs de perles (Chorus), and Carmen (Chorus).
Peter Quint - Westley Montgomery
Tenor Westley Montgomery is very exciting to join Chicago Summer Opera performing the role of Peter Quint in Benjamin Britten’s The Turn of the Screw. He is currently pursuing his Master’s degree in Voice at the University of Michigan, where he also obtained his Bachelor’s degree. This summer, he performs the role of Ovlur and covers the role of Vladimir in Borodin's Prince Igor with Russian Opera Workshop. Past roles include Benvolio in Romeo et Juliette and Maestro Spinelloccio in Gianni Schicchi, as well as excerpts from Eugene Onegin/Lensky, Carmen/Don Jose and Die Zauberflote/Tamino all with The University of Michigan. Also a proponent of new music, Montgomery has appeared twice as Boy Sam in David Lang’s The Difficulty of Crossing a Field, including with the Detroit Chamber Winds and Strings under the baton of Kathleen Kelly.
Peter Quint - Dylan Davis
Dylan Davis is coming off his first year as a Masters student in Vocal performance at the Ohio State University in Columbus, Ohio. He expanded his performance repertoire to include the roles of the Governor and Vanderdendur in Bernstein's "Candide" as well as the operatic roles of Monsieur Vogelsang in, "Der Schauspieldirektor" and the title role in "Idomeneo." He was also part of a world premiere of a work by Charles Cadman called, "Ramala" an Indian opera in four acts. He has also played Paolino in an English translated version of the great opera Buffa, "Il matrimonio segreto" by Domenico Cimarosa. He also has concert experience most recently singing the Mozart Requiem Mass at Otterbein University in Westerville, Ohio, and also singing in the Messiah in Hudson Ohio around Christmas of 2017. He looks forward to delving into the deep, ambiguous oeuvre of Benjamin Britten, and take on the task of finding his dark side in the role of Peter Quint. Dylan would like to thank his family, especially his loving mother, father, and stepmother, for supporting him always in his dreams of becoming a professional singer, and his wonderful current teacher at the Ohio State University, Dr. Robin Rice, as well as his former teacher Dr. Helen Allen for her wonderful teaching and raising of his singing abilities.